Gamelan Selonding as Part of an Essential Instrument in the Sustainment of the Sacred Art Activities of the Batur Indigenous People in Kintamani, Bali

Abstract

Objective: The purpose of this study is to analyze the gamelan selonding, which has become an important part of the structure of the sacred arts of the people in the Batur customary environment, Bali. In general, gamelan selonding is not an essential instrument in Balinese sacred art activities. In contrast to the sacred art activities of the Batur indigenous people, gamelan selonding seems to be something essential.   Method: Both of the problems have been resolved by using qualitative methods. All primary data was successfully collected through observation, FGD, and interviews with informants in Kintamani, Bali. Some of the data classified as secondary was successfully collected through literature studies on Balinese culture. All data were analysed qualitatively using practise theory, symbol theory, and reception theory. Practical theory with the help of symbol theory and reception theory is used in analysing the contribution of gamelan selonding to the sacred art activities of the Batur customary villager, while symbol theory and reception theory with the help of practical theory are used in analysing the form of gamelan selonding.   Results: Gamelan selonding is an essential part of the continuation of the sacred arts of the Batur indigenous people due to the existence of religious benefits, social benefits, artistic benefits, and cultural capital. As an essential instrument, the gamelan selonding is often used by the indigenous people of Batur for artistic activities in the sacred area of Kintamani, Bali. The gamelan selonding is a type of traditional Balinese musical instrument with a seven-tone pelog barrel. The shape of this gamelan physically consists of two pelvises and a wide blade made of iron, which is placed on a pelawah wooden.   Conclusion: The gamelan selonding holds significant importance among the sacred arts of the indigenous Batur community, since it encompasses various dimensions including religious, social, aesthetic, and cultural aspects. This gamelan ensemble under consideration comprises two resonating chambers and a broad metallic blade positioned above a hardwood resonator.